IMAGE LANGUAGE OF THE METAREALISM:FLAT ONTOLOGIES AND THE PHENOMENOLOGY OF OBJECTS

Classical ontologies, when included in the metaphysical tradition, always presuppose hierarchies (thing - idea, top - bottom, etc.). Flat ontologies treat all objects (physical and virtual) as objects of the same ontological order. Flat ontologies include actor-network theory, assemblage theory, object-oriented ontology and so on. In this article, the author presents the hypothesis that metarealism, as one of the currents in Russian-language poetry of the 1980s, invents a language similar to the contemporary philosophy of this ontological trend (B. Latour, G. Harman, I. Bogost, L.R. Bryant, etc.). The presented hypothesis is confirmed by a number of intersections between the description of metabola (the key metarealist trope) in V.I. Tyupa’s theoretical works and G. Harman’s description of relations between objects, as well as by I. Bogost’s direct reference to the nearness of metaphorism as an operation of object-oriented ontology and metarealistic poetry. The verification of the mentioned relationships becomes the analysis of metarealist’s poems, in which the author discovers the absence of vertical hierarchical relations between objects and between the multiplicity of depicted worlds. And the multidimensional subjectivity of metarealist poetry correlates not only with object-oriented ontology, but also with B. Latour’s actor-network theory, which articulates the equality of human and non-human actors. Hybrid objects in metarealistpoetry create multiple entanglements and a variety of temporal and spatial scales, in a sense developing G. Deleuze’s ideas about the virtual existence of objects as a constituent part of the material world.